This post is a continuation of responses to David Potter’s post on the List-Serve 03/03/25, re: Nabokov’s Aunt Preskovia (Pauline Tarkovsky), who was a psychiatrist and wrote a book on “Women Who Kill” (now available in English. Nabokov writes in SM her curious final words: “That’s interesting. Now I understand. Everything is water, vsyo—voda.”
This makes me wonder if these remarkable words were the impetus ADA’s theme of a world technology based on water, instead of electricity.
I am not well-read in regards to ADA, having only slogged through it once. I have not come across many articles on it, and do not know what the excepted, or controversial wisdom is on the water theme, but probably no one has suggested Jung, so here are my thoughts on the subject:
The water-based technology supplanting electricity seems metaphysical/psychological. There is a kind of feminine/masculine association, heart/head, depth/height duality. The L[ectron] -disaster seems to have been the hubristic result of the over-intellectual scientific technology such as the atom bomb on Terra. Nabokov associates electricity with life-force and consciousness (light), like in the PF Shade poem “Electricity.”.
Psychologically, water has to do with emotions and the unconscious,i.e. the “depths.” Except for Ada, who has a very masculine intellect, the women in ADA, Aqua and Marina, and Lucette are associated with water. Aqua's insanity is an example of too much anima – feminine emotion and intuition,; Marina is an example of a kind of “typical feminine” triteness. Lucette, whose name suggests "light" (and therefore electricity) is taken down to the depths by her emotion (water).
Just speculation here, but perhaps Aunt Pasha, who was clearly an intellectual, not sexual, woman had her death epiphany by a recognition of her feminine aspect.
As it happens, I just got a daily Jungian quote from a site I subscribe to, and it has to do with water and the feminine! Very interesting, and, I think, pertinent:
https://mail.google.com/mail/u/0/#inbox/FMfcgzQZTVrVQwZTJhLkNdrNVpvKTGbh
In addition, as I was writing “L[ectron] -disaster,” I almost wrote “L-ectra” and that lit up an idea that ADA is the ORESTEIA! turned on its head, of course. Nabokov suggests that it is unhappy families who are alike. Except that ADA ends as a happy story of love and long life.
The unhappy family (as noted in Ada’s opening line!), the secret parentage, the adultery, incestuous love, suicide, the brother/sister motif. It fits.
Let me know if I am going over previously worn paths.
Mary
Aunt Preskovia
Ha-ha!
Circling back to David Potter
This has spurred me (at last) to look more into ADA. So far, I have found very little written about ADA, except for an excellent thesis by David Potter! (https://www.academia.edu/59984087/Ardor_or_Ada_Authority_Artifice_and_Ambivalence_in_Nabokov_s_Ada_or_Ardor). He connects Aunt Pasha's dying words to the water theme:
This is very much in line with my thoughts. Electricity is associated with masculine intellect, whereas water is associated with feminine intuition. As time goes on, Van finds himself becoming more intuitive (sensitive) like his "real," – not "birth" – mother, Aqua.
all is water in The Gift
One of my mother’s happier girlhood recollections was having traveled one summer with her aunt Praskovia to the Crimea, where her paternal grandfather had an estate near Feodosia. Her aunt and she went for a walk with him and another old gentleman, the well-known seascape painter Ayvazovski. She remembered the painter saying (as he had said no doubt many times) that in 1836, at an exhibition of pictures in St. Petersburg, he had seen Pushkin, “an ugly little fellow with a tall handsome wife.” That was more than half a century before, when Ayvazovski was an art student, and less than a year before Pushkin’s death. She also remembered the touch nature added from its own palette—the white mark a bird left on the painter’s gray top hat. The aunt Praskovia, walking beside her, was her mother’s sister, who had married the celebrated syphilologist V. M. Tarnovski (1839–1906) and who herself was a doctor, the author of works on psychiatry, anthropology and social welfare. One evening at Ayvazovski’s villa near Feodosia, Aunt Praskovia met at dinner the twenty-eight-year-old Dr. Anton Chekhov whom she somehow offended in the course of a medical conversation. She was a very learned, very kind, very elegant lady, and it is hard to imagine how exactly she could have provoked the incredibly coarse outburst Chekhov permits himself in a published letter of August 3, 1888, to his sister. Aunt Praskovia, or Aunt Pasha, as we called her, often visited us at Vyra. She had an enchanting way of greeting us, as she swept into the nursery with a sonorous “Bonjour, les enfants!” She died in 1910. My mother was at her bedside, and Aunt Pasha’s last words were: “That’s interesting. Now I understand. Everything is water, vsyo—voda.” (Speak, Memory, Chapter Three, 3)
From VN's novel Dar ("The Gift," 1937):
«Здравствуйте, Федор Константинович, здравствуйте, дорогой», – крикнул поверх его головы, хотя уже пожимая ему руку, движущийся, протискивающийся, похожий на раскормленную черепаху адвокат – и уже приветствовал кого-то другого. Но вот поднялся со своего места Васильев и на мгновение опершись о столешницу легким прикосновением пальцев, свойственным приказчикам и ораторам, объявил собрание открытым. «Господин Буш, – добавил он, – прочтет нам свою новую, свою философскую трагедию».
Герман Иванович Буш, пожилой, застенчивый, крепкого сложения, симпатичный рижанин, похожий лицом на Бетховена, сел за столик ампир, гулко откашлялся, развернул рукопись; у него заметно дрожали руки и продолжали дрожать во все время чтения.
Уже в самом начале наметился путь беды. Курьезное произношение чтеца было несовместимо с темнотою смысла. Когда, еще в прологе, появился идущий по дороге Одинокий Спутник, Федор Константинович напрасно понадеялся, что это метафизический парадокс, а не предательский ляпсус. Начальник Городской Стражи, ходока не пропуская, несколько раз повторил, что он «наверно́е не пройдет». Городок был приморский (Спутник шел из Hinterland’a), и в нем пьянствовал экипаж греческого судна. Происходил такого рода разговор на Улице Греха:
Первая Проститутка
Все есть вода. Так говорит гость мой Фалес.
Вторая Проститутка
Все есть воздух, сказал мне юный Анаксимен.
Третья Проститутка
Все есть число. Мой лысый Пифагор не может ошибиться.
Четвертая Проститутка
Гераклит ласкает меня, шептая: все есть огонь.
Спутник (входит)
Все есть судьба.
Кроме того было два хора, из которых один каким-то образом представлял собой волну физика де Бройля и логику истории, а другой, хороший хор, с ним спорил. «Первый матрос, второй матрос, третий матрос», – нервным, с мокрыми краями, баском пересчитывал Буш беседующих лиц. Появились какие-то: Торговка Лилий, Торговка Фиалок и Торговка Разных Цветов. Вдруг что-то колыхнулось: в публике начались осыпи.
Вскоре установились силовые линии по разным направлениям через все просторное помещение, – связь между взглядами трех-четырех, потом пяти-шести, а там и десяти людей, что составляло почти четверть собрания. Кончеев медленно и осторожно взял с этажерки, у которой сидел, большую книгу (Федор Константинович заметил, что это альбом персидских миниатюр), и все так же медленно поворачивая ее то так, то сяк на коленях, начал ее тихо и близоруко рассматривать. У Чернышевской был удивленный и оскорбленный вид, но вследствие своей тайной этики, как-то связанной с памятью сына, она заставляла себя слушать. Буш читал быстро, его лоснящиеся скулы вращались, горела подковка в черном галстуке, а ноги под столиком стояли носками внутрь, – и чем глубже, сложнее и непонятнее становилась идиотская символика трагедии, тем ужаснее требовал выхода мучительно сдерживаемый, подземно-бьющийся клекот, и многие уже нагибались, боясь смотреть, и когда на площади начался Танец Масков, то вдруг кто-то – Гец – кашлянул, и вместе с кашлем вырвался какой-то добавочный вопль, и тогда Гец закрылся ладонями, а погодя из-за них опять появился, с бессмысленно ясным лицом и мокрой лысиной, между тем как на диване, за спиной Любови Марковны, Тамара просто легла и каталась в родовых муках, а лишенный прикрытия Федор Константинович обливался слезами, изнемогая от вынужденной беззвучности происходившего в нем. Внезапно Васильев так тяжко повернулся на стуле, что он неожиданно треснул, поддалась ножка, и Васильев рванулся, переменившись в лице, но не упал, – и это мало смешное происшествие явилось предлогом для какого-то звериного, ликующего взрыва, прервавшего чтение, и покуда Васильев переселялся на другой стул, Герман Иванович Буш, наморщив великолепный, но совершенно недоходный лоб, что-то в рукописи отмечал карандашиком, и среди облегченного затишья неизвестная дама еще отдельно простонала что-то, но уже Буш приступал к дальнейшему чтению:
Торговка Лилий
Ты сегодня чем-то огорчаешься, сестрица.
Торговка Разных Цветов
Да, мне гадалка сказала, что моя дочь выйдет замуж за вчерашнего прохожего.
Дочь
Ах, я даже его не заметила.
Торговка Лилий
И он не заметил ее.
«Слушайте, слушайте!» – вмешался хор, вроде как в английском парламенте.
Опять произошло небольшое движение: началось через всю комнату путешествие пустой папиросной коробочки, на которой толстый адвокат написал что-то, и все наблюдали за этапами ее пути, написано было, верно, что-то чрезвычайно смешное, но никто не читал, она честно шла из рук в руки, направляясь к Федору Константиновичу, и когда, наконец, добралась до него, то он прочел на ней: «Мне надо будет потом переговорить с вами о маленьком деле».
Последнее действие подходило к концу. Федора Константиновича незаметно покинул бог смеха, и он раздумчиво смотрел на блеск башмака. С парома на холодный берег. Правый жал больше левого. Кончеев, полуоткрыв рот, досматривал альбом. «Занавес», – воскликнул Буш с легким ударением на последнем слоге.
“Hello, hello, dear Fyodor Konstantinovich!” A fat lawyer who resembled an overfed turtle shouted this over Fyodor’s head, although already shaking his hand while pushing through the crowd, and by now he was already greeting someone else. Then Vasiliev rose from his seat and leaning lightly on the table for a moment with splayed fingers, in a position peculiar to shopkeepers and orators, announced that the meeting was opened. “Mr. Busch,” he added, “will now read us his new, philosophical tragedy.”
Herman Ivanovich Busch, an elderly, shy, solidly built, likable gentleman from Riga, with a head that looked like Beethoven’s, seated himself at the little Empire table, emitted a throaty rumble and unfolded his manuscript; his hands trembled perceptibly and continued to tremble throughout the reading.
From the very beginning it was apparent that the road led to disaster. The Rigan’s farcical accent and bizarre solecisms were incompatible with the obscurity of his meaning. When, already in the Prologue, there appeared a “Lone Companion” (odinokiy sputnik instead of odinokiy putnik, lone wayfarer) walking along that road, Fyodor still hoped against hope that this was a metaphysical paradox and not a traitorous lapsus. The Chief of the Town Guard, not admitting the traveler, repeated several times that he “would not pass definitely” (rhyming with “nightly”). The town was a coastal one (the lone companion was coming from the Hinterland) and the crew of a Greek vessel was carousing there. This conversation went on in the Street of Sin:
FIRST PROSTITUTE
All is water. That is what my client Thales says.
SECOND PROSTITUTE
All is air, young Anaximenes told me.
THIRD PROSTITUTE
All is number. My bald Pythagoras cannot be wrong.
FOURTH PROSTITUTE
Heraclitus caresses me whispering “All is fire.”
LONE COMPANION (enters)
All is fate.
There were also two choruses, one of which somehow managed to represent the de Broglie’s waves and the logic of history, while the other chorus, the good one, argued with it. “First Sailor, Second Sailor, Third Sailor,” continued Busch, enumerating the conversing characters in his nervous bass voice edged with moisture. There also appeared three flower vendors: a “Lilies’ Woman,” a “Violets’ Woman” and a “Woman of Different Flowers.” Suddenly something gave: little landslides began among the audience.
Before long, certain power lines formed in various directions all across the room—a network of exchanged glances between three or four, then five or six, then ten people, which represented a third of the gathering. Koncheyev slowly and carefully took a large volume from the bookshelf near which he was sitting (Fyodor noticed that it was an album of Persian miniatures), and just as slowly turning it this way and that in his lap, he began to glance through it with myopic eyes. Mme. Chernyshevski wore a surprised and hurt expression, but in keeping with her secret ethics, somehow tied up with the memory of her son, she was forcing herself to listen. Busch was reading rapidly, his glossy jowls gyrated, the horseshoe in his black tie sparkled, while beneath the table his feet stood pigeon-toed—and as the idiotic symbolism of the tragedy became ever deeper, more involved and less comprehensible, the painfully repressed, subterraneously raging hilarity more and more desperately needed an outlet, and many were already bending over, afraid to look, and when the Dance of the Maskers began in the square, someone—Getz it was—coughed, and together with the cough there issued a certain additional whoop, whereupon Getz covered his face with his hands and after a while emerged again with a senselessly bright countenance and humid, bald head, while on the couch Tamara had simply lain down and was rocking as if in the throes of labor, while Fyodor, who was deprived of protection, shed floods of tears, tortured by the forced noiselessness of what was going on inside him. Unexpectedly Vasiliev turned in his chair so ponderously that a leg collapsed with a crack and Vasiliev lurched forward with a changed expression, but did not fall, and this event, not funny in itself, served as a pretext for an elemental, orgiastic explosion to interrupt the reading, and while Vasiliev was transferring his bulk to another chair, Herman Ivanovich Busch, knitting his magnificent but quite unfruitful brow, jotted something on the manuscript with a pencil stub, and in the relieved calm an unidentified woman uttered something in a separate final moan, but Busch was already going on:
LILIES’ WOMAN
You’re all upset about something today, sister.
WOMAN OF DIFFERENT FLOWERS
Yes, the fortuneteller told me that my daughter would marry yesterday’s passerby.
DAUGHTER
Oh, I did not even notice him.
LILIES’ WOMAN
And he did not notice her.
“Hear, hear!” chimed in the Chorus, as in the British Parliament. Again there was a slight commotion: an empty cigarette box, on which the fat lawyer had written something, began a journey across the whole room, and everybody followed the stages of its trip; something extremely funny must have been written on it, but no one read it and it was passed dutifully from hand to hand, destined for Fyodor, and when it finally reached him, he read on it: Later I want to discuss a certain little affair with you .
The last act was nearing its conclusion. The god of laughter imperceptibly forsook Fyodor and he gazed meditatively at the shine of his shoe. Onto the cold shore from the ferry. The right one pinched more than the left. Koncheyev, his mouth half open, was leafing through the final pages of the album. “Zanaves [curtain],” exclaimed Busch, accenting the last syllable instead of the first. (Chapter One)
Herman Ivanovich Busch resembles Beethoven. The writer Shirin is blind like Milton, deaf like Beethoven, and a blockhead to boot:
Фёдор Константинович собрался было восвояси, когда его сзади окликнул шепелявый голос: он принадлежал Ширину, автору романа "Седина" (с эпиграфом из книги Иова), очень сочувственно встреченного эмигрантской критикой. ("Господи, отче -- --? По Бродвею, в лихорадочном шорохе долларов, гетеры и дельцы в гетрах, дерясь, падая, задыхаясь, бежали за золотым тельцом, который, шуршащими боками протискиваясь между небоскребами, обращал к электрическому небу изможденный лик свой и выл. В Париже, в низкопробном притоне, старик Лашез, бывший пионер авиации, а ныне дряхлый бродяга, топтал сапогами старуху-проститутку Буль-де-Сюиф. Господи отчего -- --? Из московского подвала вышел палач и, присев у конуры, стал тюлюкать мохнатого щенка: Махонький, приговаривал он, махонький... В Лондоне лорды и лэди танцевали джими и распивали коктейль, изредка посматривая на эстраду, где на исходе восемнадцатого ринга огромный негр кнок-оутом уложил на ковер своего белокурого противника. В арктических снегах, на пустом ящике из-под мыла, сидел путешественник Эриксен и мрачно думал: Полюс или не полюс?.. Иван Червяков бережно обстригал бахрому единственных брюк. Господи, отчего Вы дозволяете все это?"). Сам Ширин был плотный, коренастый человек, с рыжеватым бобриком, всегда плохо выбритый, в больших очках, за которыми, как в двух аквариумах, плавали два маленьких, прозрачных глаза, совершенно равнодушных к зрительным впечатлениям. Он был слеп как Мильтон, глух как Бетховен, и глуп как бетон. Святая ненаблюдательность (а отсюда – полная неосведомленность об окружающем мире -- и полная неспособность что-либо именовать) -- свойство, почему-то довольно часто встречающееся у русского литератора-середняка, словно тут действует некий благотворный рок, отказывающий безталанному в благодати чувственного познания, дабы он зря не изгадил материала. Бывает, конечно, что в таком темном человеке играет какой-то собственный фонарик, -- не говоря о том, что известны случаи, когда по прихоти находчивой природы, любящей неожиданные приспособления и подмены, такой внутренний свет поразительно ярок -- на зависть любому краснощекому таланту. Но даже Достоевский всегда как-то напоминает комнату, в которой днём горит лампа.
Fyodor was about to walk home when a lisping voice called him from behind: it belonged to Shirin, author of the novel The Hoary Abyss (with an Epigraph from the Book of Job) which had been received very sympathetically by the émigré critics. (“Oh Lord, our Father! Down Broadway in a feverish rustle of dollars, hetaeras and businessmen in spats, shoving, falling and out of breath, were running after the golden calf, which pushed its way, rubbing against walls between the skyscrapers, then turned its emaciated face to the electric sky and howled. In Paris, in a low-class dive, the old man Lachaise, who had once been an aviation pioneer but was now a decrepit vagabond, trampled under his boots an ancient prostitute, Boule de Suif. Oh Lord, why—? Out of a Moscow basement a killer came out, squatted by a kennel and began to coax a shaggy pup: little one, he repeated, little one… In London, lords and ladies danced the Jimmie and imbibed cocktails, glancing from time to time at a platform where at the end of the eighteenth ring a huge Negro had laid his fair-haired opponent on the carpet with a knockout. Amid arctic snows the explorer Ericson sat on an empty soapbox and thought gloomily: The pole or not the pole?… Ivan Chervyakov carefully trimmed the fringe of his only pair of pants. Oh Lord, why dost Thou permit all this?”) Shirin himself was a thickset man with a reddish crew cut, always badly shaved and wearing large spectacles behind which, as in two aquariums, swam two tiny, transparent eyes—which were completely impervious to visual impressions. He was blind like Milton, deaf like Beethoven, and a blockhead to boot. A blissful incapacity for observation (and hence complete uninformedness about the surrounding world—and a complete inability to put a name to anything) is a quality quite frequently met with among the average Russian literati, as if a beneficent fate were at work refusing the blessing of sensory cognition to the untalented so that they will not wantonly mess up the material. It happens, of course, that such a benighted person has some little lamp of his own glimmering inside him—not to speak of those known instances in which, through the caprice of resourceful nature that loves startling adjustments and substitutions, such an inner light is astonishingly bright—enough to make the envy of the ruddiest talent. But even Dostoevski always brings to mind somehow a room in which a lamp burns during the day. (Chapter Five)
In his speech on Dostoevski (delivered on the hundredth anniversary of Dostoevski’s birth) Lunacharski (the minister of education in Lenin’s government) takes the example of water in order to explain Dostoevski’s treatment of man’s psyche. According to Lunacharski, to understand the dynamics of water one must imagine a fantastic Niagara, a hundred times more grandiose than the real one:
Чтобы понять, что делает Достоевский с психикой - возьмём хотя бы такой пример - вода. Для того, чтобы дать человеку полное представление о воде, заставить его объять все её свойства, надо ему показать воду, пар, лёд, разделить воду на составные части, показать, что такое тихое озеро, величаво катящая свои волны река, водопад, фонтан и проч. Словом - ему нужно показать все свойства, всю внутреннюю динамику воды. И, однако, этого всё-таки будет мало. Может быть, для того, чтобы понять динамику воды, нужно превысить данные возможности и фантастически представить человеку Ниагару, в сотню раз грандиознейшую, чем подлинная. Вот Достоевский и стремится превозмочь реальность и показать дух человеческий со всеми его неизмеримыми высотами и необъяснимыми глубинами со всех сторон. Как Микель Анджело скручивает человеческие тела в конвульсиях, в агонии, так Достоевский дух человеческий то раздувает до гиперболы, то сжимает до полного уничтожения, смешивает с грязью, низвергает его в глубины ада, то потом вдруг взмывает в самые высокие эмпиреи неба. Этими полётами человеческого духа Достоевский не только приковывает наше внимание, захватывает нас, открывает нам новые неизведанные красоты, но даёт очень много и нашему познанию, показывая нам неподозреваемые нами глубины души.
In the surname Lunacharski there are luna (moon) and Charski (a character in Pushkin's Egyptian Nights and the fat lawyer in The Gift). Electricity was banned on Demonia (Earth's twin planet also known as Antiterra on which VN's novel Ada, 1969, is set) after the L disaster in the beau milieu of the 19th century. Chronologically, the Antiterran L disaster seems to correspond to the mock execution of Dostoevski and the Petrashevskians on Jan. 3, 1850 (NS), in our world. January 3 is Lucette's birthday. The element that destroys Lucette (Van's and Ada's half-sister who commits suicide by jumping from Admiral Tobakoff into the Atlantic) is water:
Numbers and rows and series — the nightmare and malediction harrowing pure thought and pure time — seemed bent on mechanizing his mind. Three elements, fire, water, and air, destroyed, in that sequence, Marina, Lucette, and Demon. Terra waited. (3.1)
The author of a book on prostitution ("О некоторых антропологических измерениях и физических признаках вырождения у привычных проституток," 1887), Praskovia Tarnovski (VN's Aunt Pasha whose last words were "everything is water") died on Dec. 12, 1910, outliving Leo Tolstoy (who died on Nov. 7, 1910) by a month. The author of an essay ‘Villa Venus: an Organized Dream,’ Eric Veen derived his projest from reading too many erotic works found in a furnished house his grandfather had bought near Vence from Count Tolstoy, a Russian or Pole:
In the spring of 1869, David van Veen, a wealthy architect of Flemish extraction (in no way related to the Veens of our rambling romance), escaped uninjured when the motorcar he was driving from Cannes to Calais blew a front tire on a frost-blazed road and tore into a parked furniture van; his daughter sitting beside him was instantly killed by a suitcase sailing into her from behind and breaking her neck. In his London studio her husband, an unbalanced, unsuccessful painter (ten years older than his father-in-law whom he envied and despised) shot himself upon receiving the news by cablegram from a village in Normandy called, dreadfully, Deuil.
The momentum of disaster lost none of its speed, for neither did Eric, a boy of fifteen, despite all the care and adoration which his grandfather surrounded him with, escape a freakish fate: a fate strangely similar to his mother’s.
After being removed from Note to a small private school in Vaud Canton and then spending a consumptive summer in the Maritime Alps, he was sent to Ex-en-Valais, whose crystal air was supposed at the time to strengthen young lungs; instead of which its worst hurricane hurled a roof tile at him, fatally fracturing his skull, Among the boy’s belongings David van Veen found a number of poems and the draft of an essay entitled’ Villa Venus: an Organized Dream.’
To put it bluntly, the boy had sought to solace his first sexual torments by imagining and detailing a project (derived from reading too many erotic works found in a furnished house his grandfather had bought near Vence from Count Tolstoy, a Russian or Pole): namely, a chain of palatial brothels that his inheritance would allow him to establish all over ‘both hemispheres of our callipygian globe.’ The little chap saw it as a kind of fashionable club, with branches, or, in his poetical phrase, ‘Floramors,’ in the vicinity of cities and spas. Membership was to be restricted to noblemen, ‘handsome and healthy,’ with an age limit of fifty (which must be praised as very broadminded on the poor kid’s part), paying a yearly fee of 3650 guineas not counting the cost of bouquets, jewels and other gallant donations. Resident female physicians, good-looking and young (‘of the American secretarial or dentist-assistant type’), would be there to check the intimate physical condition of ‘the caresser and the caressed’ (another felicitous formula) as well as their own if ‘the need arose,’ One clause in the Rules of the Club seemed to indicate that Eric, though frenziedly heterosexual, had enjoyed some tender ersatz fumblings with schoolmates at Note (a notorious preparatory school in that respect): at least two of the maximum number of fifty inmates in the major floramors might be pretty boys, wearing frontlets and short smocks, not older than fourteen if fair, and not more than twelve if dark. However, in order to exclude a regular flow of ‘inveterate pederasts,’ boy love could be dabbled in by the jaded guest only between two sequences of three girls each, all possessed in the course of the same week — a somewhat comical, but not unshrewd, stipulation. (2.3)
The floramor chapter of Ada ends as follows:
He was thirsty, but the champagne he had bought, with the softly rustling roses, remained sealed and he had not the heart to remove the silky dear head from his breast so as to begin working on the explosive bottle. He had fondled and fouled her many times in the course of the last ten days, but was not sure if her name was really Adora, as everybody maintained — she, and the other girl, and a third one (a maidservant, Princess Kachurin), who seemed to have been born in the faded bathing suit she never changed and would die in, no doubt, before reaching majority or the first really cold winter on the beach mattress which she was moaning on now in her drugged daze. And if the child really was called Adora, then what was she? — not Rumanian, not Dalmatian, not Sicilian, not Irish, though an echo of brogue could be discerned in her broken but not too foreign English. Was she eleven or fourteen, almost fifteen perhaps? Was it really her birthday — this twenty-first of July, nineteen-four or eight or even several years later, on a rocky Mediterranean peninsula?
A very distant church clock, never audible except at night, clanged twice and added a quarter.
‘Smorchiama la secandela,’ mumbled the bawd on the bed in the local dialect that Van understood better than Italian. The child in his arms stirred and he pulled his opera cloak over her. In the grease-reeking darkness a faint pattern of moonlight established itself on the stone floor, near his forever discarded half-mask lying there and his pump-shod foot. It was not Ardis, it was not the library, it was not even a human room, but merely the squalid recess where the bouncer had slept before going back to his Rugby-coaching job at a public school somewhere in England. The grand piano in the otherwise bare hall seemed to be playing all by itself but actually was being rippled by rats in quest of the succulent refuse placed there by the maid who fancied a bit of music when her cancered womb roused her before dawn with its first familiar stab. The ruinous Villa no longer bore any resemblance to Eric’s’ organized dream,’ but the soft little creature in Van’s desperate grasp was Ada. (2.3)
Darkbloom ('Notes to Ada'): smorchiama: let us snuff out the candle.
A furnished house that David van Veen (Eric's grandfather) had bought near Vence from Count Tolstoy, a Russian or Pole, brings to mind Furnished Space (l’espace meublé) mentioned by Van when he tells about his father's death in a mysterious airplane disaster above the Pacific:
Furnished Space, l’espace meublé (known to us only as furnished and full even if its contents be ‘absence of substance’ — which seats the mind, too), is mostly watery so far as this globe is concerned. In that form it destroyed Lucette. Another variety, more or less atmospheric, but no less gravitational and loathsome, destroyed Demon.
Idly, one March morning, 1905, on the terrace of Villa Armina, where he sat on a rug, surrounded by four or five lazy nudes, like a sultan, Van opened an American daily paper published in Nice. In the fourth or fifth worst airplane disaster of the young century, a gigantic flying machine had inexplicably disintegrated at fifteen thousand feet above the Pacific between Lisiansky and Laysanov Islands in the Gavaille region. A list of ‘leading figures’ dead in the explosion comprised the advertising manager of a department store, the acting foreman in the sheet-metal division of a facsimile corporation, a recording firm executive, the senior partner of a law firm, an architect with heavy aviation background (a first misprint here, impossible to straighten out), the vice president of an insurance corporation, another vice president, this time of a board of adjustment whatever that might be —
‘I’m hongree,’ said a maussade Lebanese beauty of fifteen sultry summers.
‘Use bell,’ said Van, continuing in a state of odd fascination to go through the compilation of labeled lives:
— the president of a wholesale liquor-distributing firm, the manager of a turbine equipment company, a pencil manufacturer, two professors of philosophy, two newspaper reporters (with nothing more to report), the assistant controller of a wholesome liquor distribution bank (misprinted and misplaced), the assistant controller of a trust company, a president, the secretary of a printing agency —
The names of those big shots, as well as those of some eighty other men, women, and silent children who perished in blue air, were being withheld until all relatives had been reached; but the tabulatory preview of commonplace abstractions had been thought to be too imposing not to be given at once as an appetizer; and only on the following morning did Van learn that a bank president lost in the closing garble was his father. (3.7)
Van does not realize that his father died, because Ada (who could not pardon Demon his forcing Van to give her up) managed to persuade the pilot to destroy his machine in midair. Zhenshchiny-ubiytsy ("Women who Kill," 1902) is a book by Praskovia Tarnovski.